Gianluca Pacchioni

“I play here with a new language. I feel like an explorer of ruins with a sense for aesthetic.
I change all proportions, transforming micro-pods into macro-shoots or creating sculptures with imaginative grafts, almost as if I wanted to establish a spectacular, plant-based bestiary.
These new three species, again, soar and dance in the air, releasing all their strength in the very gesture of piercing the concrete base they break out of, a perennial symbol of the victory of nature over humanity.
These works emerged during the pandemic period as a dialogue with our discovered vulnerability.”

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“I play here with a new language. I feel like an explorer of ruins with a sense for aesthetic.
I change all proportions, transforming micro-pods into macro-shoots or creating sculptures with imaginative grafts, almost as if I wanted to establish a spectacular, plant-based bestiary.
These new three species, again, soar and dance in the air, releasing all their strength in the very gesture of piercing the concrete base they break out of, a perennial symbol of the victory of nature over humanity.
These works emerged during the pandemic period as a dialogue with our discovered vulnerability.”

.

“I play here with a new language. I feel like an explorer of ruins with a sense for aesthetic.
I change all proportions, transforming micro-pods into macro-shoots or creating sculptures with imaginative grafts, almost as if I wanted to establish a spectacular, plant-based bestiary.
These new three species, again, soar and dance in the air, releasing all their strength in the very gesture of piercing the concrete base they break out of, a perennial symbol of the victory of nature over humanity.
These works emerged during the pandemic period as a dialogue with our discovered vulnerability.”

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“My art takes nourishment from the way I negotiate internally to keep my desires and beauty alive.
Tropical life and its organic conditions generate a very emotional state of things. It's strength and natural chaos fight against all forms of control of humankind. I am not interested in the paradise side of it, but in its primordial force. My aim is an attempt to capture its vital energy.

Humanity finds itself fragile and strong at the same time. These works tell you about this duality, this tension about the dominance of nature over us and vice versa. In Life I and II I try to underline this relationship with sharp angles. strong yet elegant structures where the sprouts prevail against containment."

.

“My art takes nourishment from the way I negotiate internally to keep my desires and beauty alive.
Tropical life and its organic conditions generate a very emotional state of things. Its strength and natural chaos fight against all forms of control of humankind. I am not interested in the paradise side of it, but in its primordial force. My aim is an attempt to capture its vital energy.

Humanity finds itself fragile and strong at the same time. These works tell you about this duality, this tension about the dominance of nature over us and vice versa. In Eden, I explore strong yet elegant structures where the sprouts prevail against containment, but there is also something intimate and sensual. No angles but fluid shapes where the shoot does not compromise and shows its domination”.

.

“My art takes nourishment from the way I negotiate internally to keep my desires and beauty alive.
Tropical life and its organic conditions generate a very emotional state of things. Its strength and natural chaos fight against all forms of control of humankind. I am not interested in the paradise side of it, but in its primordial force. My aim is an attempt to capture its vital energy.

Humanity finds itself fragile and strong at the same time. These works tell you about this duality, this tension about the dominance of nature over us and vice versa. In Life I and II I try to underline this relationship with sharp angles. strong yet elegant structures where the sprouts prevail against containment.

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“This is the sentence which always resonate in my brain when I approach the end of many of my works.
Yes, I love the sensation to find more beauty inside a perfect shape. I love the adrenaline to cut something apparently perfect, looking for more… I am not afraid to experiment and surprise, because it comes from a life spent searching for difference, perfection, and naturalness.
Never half free or better free to deny prettiness in order to take on beauty.”

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“Gala was originally created for the lobby of a restaurant inside an Opera House in Italy.
I played with the idea of a ballet tutu, the multilayer skirt of the dancers.
Usually, Opera houses have a lot rules for colors and shapes, the sense of tradition is very protected.
Thus, I mixed my three favorite ingredients : Classic influences and tropical sensations, with a touch of humor.”

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“It is a huge jewel, a gigantic pin. I’ve put a lens on the small detail of a sprout and created my beauty, in tranquillity and serenity. No struggles, no tensions. Just a vital momentum”

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“ The Koicea series are the natural artistic evolution of the Halga series. After many years, completely under the influence of the indulgent raw iron, I then discovered stainless steel and the charm of duality and contrasting juxtaposition, gentle and hard, of caressing in danger.

These sculptures, handcut by plasma, are highly polished and smoothly satinated on the outer surface but very harsh, almost volcanic on the inner surface and on the edges, taking you to a tactile approach, like touching the skin of a peach, but with a visual sensation of danger and roughness. Minimal and sensual or nervous and organic, You can find this duality in many of my works.

These works have been displayed in many exhibits around the world, but I am especially proud of the most recent exhibits at the Italian embassy in Paris and at the Italian consulate in New York.”

.

“ The Koicea series are the natural artistic evolution of the Halga series. After many years, completely under the influence of the indulgent raw iron, I then discovered stainless steel and the charm of duality and contrasting juxtaposition, gentle and hard, of caressing in danger.

These sculptures, handcut by plasma, are highly polished and smoothly satinated on the outer surface but very harsh, almost volcanic on the inner surface and on the edges, taking you to a tactile approach, like touching the skin of a peach, but with a visual sensation of danger and roughness. Minimal and sensual or nervous and organic, You can find this duality in many of my works.

These works have been displayed in many exhibits around the world, but I am especially proud of the most recent exhibits at the Italian embassy in Paris and at the Italian consulate in New York.”

.

“ The Koicea series are the natural artistic evolution of the Halga series. After many years, completely under the influence of the indulgent raw iron, I then discovered stainless steel and the charm of duality and contrasting juxtaposition, gentle and hard, of caressing in danger.

These sculptures, handcut by plasma, are highly polished and smoothly satinated on the outer surface but very harsh, almost volcanic on the inner surface and on the edges, taking you to a tactile approach, like touching the skin of a peach, but with a visual sensation of danger and roughness. Minimal and sensual or nervous and organic, You can find this duality in many of my works.

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“I started to work on this idea at the end of 90’s, playing with iron and light and with their intriguing illusionist shapes and possibilities.
But the real investigation was developed around a project, dated 2006, for a site specific installation at Hangar Bicocca in Milan.

In a huge hangar dedicated to contemporary art, the client asked me to invent an industrial cosy atmosphere for a very large area. It was winter time in a factory. Strange to say but my most prolific creative time is always during cold months, where I’ve always found a sort of hidden romanticism. Anyways, my idea was to create a jungle of trees and gigantic sprouts with a warm source of light inside. I then imagined and produced 16 large scale sculptures. All unique pieces. I decided to cut a series of large rusted water pipes, by torch light, with sensual curves. It took a lot of physical work. It was really a confrontation with a raw and rough material.
The final shapes were then assembled with a calm distortion of each single cut. After the exhibition, some works founded the interest of collectors while others were installed in a new environment on the hills of lake of Garda, among birds and pink flamingos”

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"In Halga II there is a double tension: the upward tension, a persistent verticalism and the freedom of the creative explosion, leaving the boundaries without closing the form. It was the strength of my starting point. From this internal contrast comes the plastic dynamic, with organic influences, of HALGA."

.

“I started to work on this idea at the end of 90’s, playing with iron and light and with their intriguing illusionist shapes and possibilities.
But the real investigation was developed around a project, dated 2006, for a site specific installation at Hangar Bicocca in Milan.

In a huge hangar dedicated to contemporary art, the client asked me to invent an industrial cosy atmosphere for a very large area. It was winter time in a factory. Strange to say but my most prolific creative time is always during cold months, where I’ve always found a sort of hidden romanticism. Anyways, my idea was to create a jungle of trees and gigantic sprouts with a warm source of light inside. I then imagined and produced 16 large scale sculptures. All unique pieces. I decided to cut a series of large rusted water pipes, by torch light, with sensual curves. It took a lot of physical work. It was really a confrontation with a raw and rough material.
The final shapes were then assembled with a calm distortion of each single cut.  After the exhibition, some works founded the interest of collectors while others were installed in a new environment on the hills of lake of Garda, among birds and pink flamingos”

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